Transcription
I CAN (NOT) FORGIVEbyJefferson Baugh2nd Draft, 5th 00
1BLACK.1DR. ALLEN(vo)Elisha - what do you see?An image begins to FADE into focus in soft black and white. AYOUNG MIXED GIRL, around 9. Wearing ear-muffs, in an OPENFIELD. Behind her - a black MOTHER and a white FATHER watchher cautiously, the MOTHER holding a baby on her knee.The YOUNG GIRL raises a BULKY REVOLVER into FRAME, aiming itDEAD CENTER at us. Dad raises his hands in anticipation, fearELISHA(vo)Good memories.She narrows her eyes and FIRES, rapidly. Her parents,OVERJOYED, go in and out of frame, retrieving the TARGETSHEET. They HUG her, KISS her head, then LEAVE FRAME leaving her alone. We PULL OUT SLOWLY. . .DR. ALLEN(vo)What comes next?She's entirely ALONE in the field. The CONTRAST of the imagebegins to heighten ELISHA(vo)Everything else.2BLACKSoft, sad guitar strings fade in. Over this, occasionalflashes. Match cuts. "Disease" by The New Year. TITLES.A YOUNG GIRL, face smeared in blood and mud, neck wrapped inbandages, sits in the back of a police car. Her eyes look outa thousand yards.The same YOUNG GIRL sits in a folding chair in the rain.Everyone around her is dressed in black. It's a funeral. Nextto her is a BLOND-HAIRED YOUNG BOY, about 5 or 6. The samestare.The GIRL similarly dressed sitting in a courtroom. Samestare. Across the room, a BALD, BEARDED MAN in orange togsstares at her with hate.The GIRL sits in an empty room. . .the same stare. Then, shelooks off at something and cocks her head. Smiles.2
2.VOICE(soft, a whisper)We never left you. We're still here.We pull out into the DOORWAY, where two ADULTS watch heranxiously, as she has a full conversation with the air.The GIRL sits outside a PSYCHIATRIC OFFICE. Inside, the sametwo ADULTS talk to a PSYCHIATRIST as he explains differentmedications, and mouths the words "schizophrenia."The ADULTS rush through the hallway - there's SCREAMING. Theythrow open the bedroom door and find the GIRL on the floor,shrieking. Her wrists are bleeding. There's a broken glassbeside her. The LITTLE BOY is holding her tight while sheconvulses, trying to COMFORT HER.GIRLStop it! Just leave me alone!The two ADULTS grapple with her, take the shards out of herhand. . . .move the BOY away.GIRL (CONT'D)They won't stop. . .The GIRL in a MIDDLE SCHOOL PRINCIPAL'S OFFICE. She's dressedin dark clothes, and there's blood on her nose. The same twoADULTS, listen wearily as the PRINCIPAL talks. She has thesame thousand-yard stare.PRINCIPALShe attacked another student with apen. The girl needs stitches. We can'tallow her to stay here. I'm sorry.In the back of a CAR, the GIRL looks back at the LITTLE BOY now also a little older, as he cries and waves and the carpulls off. The ADULT COUPLE stares on from their driveway asthey recede from view.The GIRL, now in her mid-teens, in a PSYCHIATRIC HOSPITAL, inwhite togs, talking to SPECIALISTS. Going to the medicationwindow. Attending group therapy.In her room at night, while her roommate sleeps, the GIRLgets up. Having a conversation with no one.The GIRL, still in hospital togs, runs down a HIGHWAYbarefoot. Stops at a gas-station payphone.GIRLFranky? Hey, it's Lisha. I'll be homesoon. . .but don't say a word, okay?I'll bring you something. . .She looks up, out of frame. Her eyes widen. Red and bluelights fall over her. She drops the phone and runs.
3.Back in the hospital, the GIRL sits drugged in her room in astraight-jacket, eyes glazed over.CUT TOIn a FOSTER HOME, the girl gets used to her new room, socialworker behind her.She talks to the COUNSELOR - a big, friendly bespectacledblack MAN.In her room, the GIRL holds her head and rocks rhythmicallyin the corner, pill bottles scattered around her.CUT TOThe COUNSELOR and the GIRL in hisoffice. There are fresh tears in hereyes, and bandages on her wrist. Heholds her hand.COUNSELORWhat do you remember?She LOOKS UP at him half-accusingly, half-imploringly - as ifto say "they're always here."GIRLEverything. Always.CUT TOThe BROTHER arrives at her ROOM, now significantly older.Opens the door.The GIRL is flagellating harder in the corner of the room.Then starts slapping herself violently. The BROTHER RUSHES toher.He sits with her in his arms, the two of them a lump on thefloor, blankets around them, singing and whispering in herear. She stares off with the same look.The sounds of heavy breathing. Running, through grass.Traffic, getting closer.TITLEPART ONEFades.DR. ALLEN(v.o)What do you see, Elisha?TITLE"Iamundernodisguise."3INT. THERAPIST'S OFFICE - THE SETTLEMENT HOME - LATER3
4.We PUSH IN from behind a SHAPE in the foreground. It's dark the lights are off and the room is illuminated only byELECTRIC CANDLES on the desk and floor. On the other side ofthe room huddled close together are ELISHA and DR. ALLEN.ELISHA JOHNSON IS ABOUT 29 - STRONG ARMS, BUT LANKY. THE GIRLFROM EARLIER, NOW OLDER. HER HAIR IS A CLOSE-KEPT AFRO.DRESSED BUSINESS CASUAL. SHE'S WEARING A WEIGHT THERAPYJACKET AND HER HEAD IS ON HER CHEST, EYES FLUTTERING.DR. ALLEN is 50. The COUNSELOR, now older. Just a big,friendly bear of a THERAPIST. He's drifting a lighter backand forth in front of her.DR. ALLENBreathe. Breathe. . .ELISHAI'm in the . . .dark, but I can see. .faces.DR. ALLENWhat do they look like?ELISHAThey're scared - white, like ghosts. .three of them. . .DR. ALLENStudy them. What do they look like?Elisha shakes her head. No-go.DR. ALLEN (CONT'D)What do you hear?ELISHAMy momma, 'm poppa.DR. ALLENWhat do they say?ELISHAThey tell me. . .they're sorry,they're here with me. . .that it'll beokay. . .but it won't. . .it won't. .Her FACE, already dim in the dark, is falling further intothe shadow DR. ALLENEllie, focus. What else do you hear?ELISHA(quiet, meek)
5.Footsteps. Above. Boom, boom. . .boom. .(beat)He's coming back. . .She starts SHAKING VIOLENTLY.ELISHA (CONT'D)He always. . .comes back. . .DR. ALLENEllie, it's okay. He's not here. He'snot here - count with me, okay? Focus.Ready? One. .Raggedly, she counts with him. Stuttering, but coming up outof the FUGUE.ELISHAThree. . .Her eyes open fully. There are tears on her cheeks. Dr. Allenpulls the JACKET tighter round her.DR. ALLENHow do you feel?She shrugs laconically.ELISHAI'm alive.DR. ALLENGood.He gets up. We HOLD on ELISHA's face, a 1000 yard stare asthe light grows over it. Now revealed, we see how small theoffice is - but, homey. Covered in souvenirs from home, andpictures on the wall of Doc Allen with various KIDS. Elisha'seyes focus on one of the pictures - her, about ten yearsprevious, hugging Doc Allen and smiling widely.DR. ALLEN (CONT'D)(os)Thirsty?ELISHAYes, please.Allen returns with his shoes off, sits down. Throws her aTRUMOO playfully. She takes a long swig.DR. ALLEN(playfully)Shit girl, you thirsty, wassup?ELISHAI hate you.
6.DR. ALLENSo, how's your brother doing?ELISHAFranky's doing really good. We're allso proud of him.A look from Allen, unnoticed.ELISHA (CONT'D)He's got this internship coming up ata dress-making company. He's reallyexcited. I hope he gets it.(to herself)I know he'll get it.DR. ALLENHe's come a long way since ironingthem uh. . .them stencils on yourjacket, you remember that?She laughs, nods.ELISHAI don't know how he does it. Dudeworks 12 hour days at Neman already.He's a machine.DR. ALLENHe's a go-getter. Speaking of, how'swork for you?ELISHAIt's. . .it's okay. I don't think themanagers like me very much.DR. ALLENWhy?ELISHAThey think I'm a weirdo. I'm alreadythe oldest one there.DR. ALLENYou're 27. You say that when you're40. Why do you think they think you'reweird?ELISHA(reluctant)They caught me talking to mom, theother day.DR. ALLENWhat happened?ELISHAI was in the back, getting the popcorn
7.bags off the top shelf when mom justcame in. Doesn't. . .you know, doesn'tgive a shit whatr I'm doing. She justcomes in and starts asking me about,you know, what am I doing here? Why amI still here?DR. ALLENYou try to ignore her?ELISHAI did, but she - you can't ignore mom.I can't even get a word in edgewisewith her, it's just (sigh) So, I'mtrying to talk to her and Lauren comesaround the corner. She looks at me,doesn't say anything and it's just. .the look on her face, I couldn't tellif it was pity, or disgust or what.DR. ALLENWhat'd you do?ELISHAI kept talking to mom. We got intothis whole thing about why wasn't Imarried yet and she would just notshut the fuck up DR. ALLENHow long were you gone?ELISHAThirty minutes?DR. ALLEN(reiterating)You were gone thirty minutes. Look,you already know what I'm finna say,but I'm finna say it anyway - you weregone during a shift for half hour, youjust lost track of time? That fish isfour days old. I'm not buying.(beat)You keeping up with your medication?ELISHAYeah.DR. ALLENWhen'd you take it last?ELISHALast night. Before bed.DR. ALLEN
8.Did you?Imperceptibly, Dr. Allen peers over his bifocals at her.A SKEPTICAL ANGLE on ELISHAOver the top of Dr. Allen's file on her. We can make out thewords "severe schizophrenia," "dissociation,""hallucinations."DR. ALLEN (CONT'D)Are you seeing them?ELISHANo. Not for a long time, now.DR. ALLENThat's good.There's a change in the air. Elisha's clearly avoidant. Shepulls her sleeves down.DR. ALLEN (CONT'D)You know I notice when you do that,right?ELISHAI don't want to talk about these rightn HARDCUT TOA little later (two minutes). They're both laughing, midconversation. A comfortable moment. Mood whiplash is jarring.DR. ALLENYou remember when you and those twoother girls snuck out to that rave,that one night? You got all dressedup, you got out there - how long wasit before you realized you didn't havea ride home? I get a call from you at12:00 A KNOCK at the door.DR. ALLEN (CONT'D)Occupado!It opens anyway. A younger FOSTER GIRL, about 12 or 13,stands there in her pajama bottoms and a hoodie DR. ALLEN (CONT'D)Girl, wait your turn! Come on, now!Rules!
9.FOSTER GIRLLa'Shelle's being a bitch and won't who's she?DR. ALLENOld friend of mine. Elisha, this isBernice.ELISHAHi Bernice, I'm Elisha. What hallwayyou in?BERNICEI'm upstairs, in hallway 4.ELISHAReally? I used to be right across.DR. ALLEN(sideways look)Her and them girls are just rowdyhooligans - like you used to be.BERNICEYou in the TLP?ELISHANaw. I've been gone a long time now.CUT TO4INT/EXT. THE SETTLEMENT HOME - DAYElisha closes the door behind her with a WAVE to Allen asBernice sits. She walks down the HALLWAY toward the frontdoors in the foyer - past rows of posters, glass framedAWARDS and PICTURES. Tattered decorations still pinned from acelebration the last week.A GAGGLE of GIRLS of various ages swarm around her, chattingand laughingAs she exits and heads into the PARKING LOT, she's ENGULFEDfor a moment by the sudden bright light from outside.Leaning against the driver-side door of his FANCY RED CAR,watching Elisha approach from a distance, is a tall, skinnymixed guy about 23-24 years old. This is FRANKY, her brother- boyish and flagrently flamboyant in his style, but theillusion is broken every so often by a streak of bitterness.He motions to her.As she nears the CAR, she sees - across the way, on the otherside of the street, there's a WELL-DRESSED MAN talking tofour or five GIRLS. Obviously flirty. They're young, andeating it up.FRANKY4
10.How'd it go?Elisha's still looking at the Man. He turns. Waves at her,smiles.She doesn't return the gesture.ELISHALet's go.5INT. RESTAURANT - AFTERNOONFranky and Elisha sit across from each other. Elisha's platelooks untouched.FRANKYYou not hungry?ELISHACan't decide yet. These meds I'm on hunger suppressants.FRANKYFair. Least you're pooping less.(she laughs; he sighs)How're mom and dad?ELISHAYou know - I was talking to them theother day and . . .I don't think theylike where I'm working now.FRANKYThey don't?ELISHAMm-mm. They keep saying I can dobetter. They're not wrong.(beat)I think I disappointed them.FRANKYElisha - hey, listen. Shut up. Whywould they ever be disappointed inyou?Elisha looks away (there are so many reasons), subtly pullsher sleeves up. Franky notices, but doesn't say anything.FRANKY (CONT'D)Wonder what they think about me.ELISHAThey're so proud of you, Franky. Weall are. How's school?FRANKYSchool's school, you know. Still5
11.haven't picked a major yet.ELISHAI thought you were in it to win it forarchitecture. How much longer you got?FRANKYToo many. Not enough. You stillthinking about going back nextsemester?ELISHA. . .maybe. I don't know.She doesn't want to talk about this. Something's on her mind.FRANKYYou managing everything alright? Yourmoney okay? Meds?ELISHAJust picked them up earlier today.There's a pause. Her eyes are starting to glaze.FRANKYYou're gonna take them on time thistime, right?(beat)Hey. Heeey. What's going on? Is itgetting bad again?ELISHAA little. I had to. . .had to taketime off work, for a few days.Again, the avoidant off-look to the side. The tug on thesleeves.FRANKYDude, wait. You were alone? Why - whydidn't you call me? I would've beenright over!FRANKY (CONT'D)Listen to me - listen. You can't bealone during that stuff. You know thatELISHAI know.FRANKYYou're my sister. I love you, and Idon't wanna have to come over thereagain and hide all the knives andrazors because -
12.ELISHA(emphatically)I know.(beat; softer)I love you too.Franky raises his hand.FRANKYYou ready?ELISHAHey, can I ask you a favor?FRANKY(dubiously)What's up?ELISHAI uh. . .I need to borrow some money.It's my electric bill. I'm sorry, youknow I hate asking, but FRANKYBut.ELISHALook, I had to take off, you know FRANKYHow much you need?ELISHA 130.00? Is that okay?FRANKYYyyeah. Yeah, I gotcha ELISHAI'll give it back to you, I promise.Add it to the ledger.He smiles. The SERVER brings the TICKETBOOK over.FRANKYHang on, man. I got it here.He slides his CARD into the book before ELISHA can grab atit.ELISHAYou didn't have to - thanks, Franky.FRANKYYou don't have to say thanks, Ellie.
13.ELISHAI do. Now I do. When I grow up, I wantto be my brother's big sister.He puts his hand over hers. Smiles warmly.6INT. FRANKY'S CAR - OUTSIDE ELISHA'S APARTMENT - EVENING6Franky's DRIVING. Elisha smokes a cigarette in the passengerseat, window cracked. Franky turns in through the GATE, takeshis first left - this isn't the best apartment complex by adamn sight. We'll just say 'rundown' doesn't cover them andleave it at that.He pulls into an OPEN SPOT, next to a beat-up old greenPINTO.FRANKYWant me to come up for a minute?ELISHANaw, that's okay. I've got some stuffI have to do.FRANKYHeard that.She unbuckles, collects herself and then reaches over to givehim a hug.FRANKY (CONT'D)Text me later, okay?She nods, gets out. Franky watches her go, heading toward thenearest building and up the staircase. His expression dips.He exhales.FRANKY (CONT'D)Jesus Christ.7INT. ELISHA'S APARTMENT - EVENING7Elisha drops her bag on the couch and heads quick for theBATHROOM. In the sharp foreground, a FRAMED PICTURE - Elisha,her parents and little Franky on mom's knee. Elisha's holdinga REVOLVER and a TROPHY. Both parents look very proud.The light comes on. The sounds of the bath faucet running.8INT. ELISHA'S BATHROOM - AFTERNOONLight shines out from the open bathroom. Silence, for amoment. Then, a whisper. Imperceptible, almost. And another.Suddenly, there's music playing loudly, something upbeat andpoppy and mostly bland and forgettable.ELISHA stands in front of the mirror, now dressed down -8
14.taking off her makeup. The music is coming from her phonesitting on a roll of toilet paper on the sink.SHE opens the medicine cabinet - and we see a row of PILLBOTTLES. Halidoperol, Lithium, Risperidone, Clozapine andmore. Big dosages. Medication for depression, bipolar,Dissociative Identity Disorder and hallucinationsrespectively. It's a lot to swallow. Literally.But Elisha is a pro. She takes one each, swallows them all inone GULP, followed swiftly by a cupped handful of water.She smiles for a moment but it doesn't reach her eyes. We seereflected in the MIRROR, in the other room. . .an after-burnof a FACE, snarling and angry, floating on the air.WHISPERSIs that your true face?Her smile falls. She leaves, but for a split second, it's asif she's looking at us. (A note on these WHISPERS here, suchas they are - though they're dialogue, they're presented morelike diagetic environment sounds, WEAVING in and out ofdialogue and whatever else is going on. They're always comingfrom a different DIRECTION, in the mix - and in her head.)9INT. ELISHA'S BEDROOM/BATHROOM - A LITTLE LATER9In the tub, Elisha stares straight ahead, looking at the wallpanel opposite. Nodding her head in response to someinvisible conversation.She looks down at her wrist, razor in the other hand. It'sbleeding. She makes another mark - then the razor sinks belowthe frame.She holds it on a mutilated piece of skin just over herPELVIS - scarred over but we can still see the remnants ofsomething. A MARK. A distorted 'M'. She makes a thin CUT.There's a thin, almost mute level of whispering on thesoundtrack, and it grows louder.We HOLD on her face as she keeps going. Determined. In pain.WHISPERSIt doesn't matter how deep you cut,Ellie. We're not going to stop.(beat)You're not allowed to die yet. . .We PAN AWAY. To the BATHROOM MIRROR.10INT. THERAPIST'S OFFICE - THE SETTLEMENT HOME - NIGHTIt's late. Dr. Allen is sitting at his desk, pouring over aMESS of papers and manila folders, laptop open beside him.Over his shoulder, we see: typed MANUSCRIPT (with prospective10
15.book TITLE), and PHOTOS of ELISHA at various ages. ARRESTRECORDS. A mugshot. Session notes. Certain words stand out "violent," "high-risk," "anti-social personality?" He RUBShis eyes, and holds up a tape recorder. Throughout thisexpository but clinical and occasionally offhand feelingmonologue, he gets up and walks around the office DR. ALLENHer hallucinations have become worse.She's deviating from her medicationroutine again. And she's starting tolie more often. Or, she's trying to.In our session today, she demonstratedwhat I've. . .been anticipating. She'slosing delineation between herobjective and subjective reality.She's aware her parents have been deadfor fifteen years in the abstract,concrete sense. But, having a 30minute conversation with them doesn'talarm her at all.(beat; he considers)She doesn't seem to remember most ofwhat. . .happened to her outside ofthe bare facts, and believe you meI've tried everything folks, but theemotional resonances, the anger.They've been her biggest motivators inlife for I don't know how long. Herhallucinations are a more benign formof externalization of that anger, andshame. But the other kind. . .thetendency toward violence, they comehand in hand. There's a strong,regressive correlation between themthat she's unaware of, a result ofcertain disassociative tendenciesinherent in her (he searches for aphrase) mental composition.He stops at the door of the office, where on the back arePHOTOS of his favorite FOSTER KIDS. And, at eye level - aYOUNG ELISHA, teenaged. Four or five photos. Smiling andHAPPY. He takes the picture down, puts on his glasses andlooks at it more closely.DR. ALLEN (CONT'D)I'm worried for my friend. What if shenever comes back?11INT. ELISHA'S BEDROOM/BATHROOM - NIGHTElisha lies in bed. Her shirt is hiked up just enough that wecan see the makeshift tape-bandaging she's put over thepelvis scar.We HOLD ON HER FACE, and we hear: Voices. Whispers. Banging.The PATTER of feet. Her face begins to twist.11
16.MAN(v.o)Jesus Christ. They're here. They'reoutside.A CHILD is crying.GIRL(v.o)Mom, what's happening?WOMAN(v.o)Run and hide, quick! Take yourbrother.Every so often, we'll get a FLASH - a blink of an image ofwhat she's dreaming, but nothing CONCRETE. Abstract images ofa BLACK WOMAN turning to us, face frozen in time. A WHITE MANin undershirt loading a REVOLVER. A door blowing off itshinges. Just the quickest of blips. There's a distant DRUMBEAT. A SHRILL WHISTLE. Then SCREAMING. It CUTS off suddenly.VOICE(v.o)Get her feet.(beat; uncomfortably close)Don't struggle. Don't move.She's screaming; a blip of a MAN's angry FACE above us but THE BLIP gets stuck, like a needle on a track. .Elisha's mouth is a frozen in a GAPING CHASM of primal fearMATCH CUT TO:12INT. ELISHA'S BEDROOM/BATHROOM - EARLY MORNING12Elisha in the same position, awake and still screaming - ittakes a moment but slowly, she realizes she's awake. Thesunlight through the windows.She gives a small yelp and collapses. Puts her hands to herhead. Quiet sobs. Will this ever stop for her?We can only just make out - in the door-way, the hazy afterburn of the FACE, already gone.ELISHAI'm sorry. . .13INT/EXT. DR. ALLEN'S CAR (MOVING) - THE SETTLEMENT HOME EARLY MORNING. . .as he PULLS into the SETTLEMENT HOME parking lot. Hegets out, slinging his bag over his shoulder. His PHONErings.13
17.DR. ALLENHello?(beat)Speaking.Chatter on the other end. Indistinct.DR. ALLEN (CONT'D)Oh my God.14EXT. THE DOMAIN - EARLY MORNING14Franky walks down the Main Street, wearing his fancysunglasses. His phone rings.FRANKYYello.(beat)Hey, Dr. Allen. How's it going?Franky listens. Human traffic pulses around him. His facefalls severely.FRANKY (CONT'D)Have you talked to her yet?15INT. THERAPIST'S OFFICE - THE SETTLEMENT HOME - MORNINGDr. Allen sits down in his chair. Across from him, Elishasits. There's no comfort here. He's unsure how to proceed.He pulls out a pack of cigarettes from his desk, and lightsone.ELISHAI didn't know you smoked.DR. ALLENI don't.He stands up, pacing over to the his FILING CABINET.DR. ALLEN (CONT'D)I want you to know, before we getstarted. . .you're in a safe place.Nothing can happen to you here. Do youunderstand?ELISHA(dubious)Yeah, I know that.DR. ALLENI'm your friend, and I am on yourside.Her smile falters a little.15
18.ELISHADr. Allen, what's going on? Tell me.I'll be okay.He turns, slowly coming back round, resting his arms on theback of his chair.DR. ALLENBilly Marqs has been released.There's a strong silence, sudden. Elisha's smile disappearscompletely. A FLICKER of something. . .DR. ALLEN (CONT'D)He got parole, on good behavior,released into familial custody as oftwo nights ago.A flicker - an INSERT. The MAN'S FACE from the COURT-ROOM.And, again. Like a HEARTBEAT.Dr. Allen sits down quickly, reaches over and grabs herhands. Elisha is beginning to hyperventilate. This could getugly.DR. ALLEN (CONT'D)It's okay. It's okay. Look at me.You're safe. Breathe.(beat)There's an automatic restraining orderin place, to prevent him from comingwithin five miles of you or yourbrother.ELISHAI . . .don't understand. This man, hekilled our parents. He. . .Her eyes GLAZE. A FLICKER - BLACK. The SUGGESTION of a FACE.ELISHA (CONT'D)He.Again - BLACK. As Allen talks, more FLICKERS - the MAN's face- tiny HANDS reaching up into dark - an OLDER WOMAN, face inANGUISH, mid-sentence trying to hold a door closed DR. ALLENI know. I'm sorry, there wasn'tanything I could do. I mean that,sincerely. I only found out thismorning. You've got to know, if therewas anything I could've said. . .(beat)He's out. That's all there is. I'm so,so sorry. If you see him, I don't carewhere he is. . .if he tries toapproach you or talk to you in any
19.way, call the police. Right then andthere. We'll get him right back in thehole they kept him in. . .Elisha's gaze has remained fixed this entire time.DR. ALLEN (CONT'D)(voice fading in and out). . .and no matter what, do not golooking for him. Do not search himout. That will not go in your favor.WHISPERS(various, different speeds)He's coming for you. He came back foryou.Silence, again.ELISHA(quietly; desparation)Why isn't he dead?DR. ALLENThat's not something I can answer.(beat; he leans forward)Can I let you - if I let you walk outof here, are you going to be okay?He's staring right at her. At us.16INT. THE SETTLEMENT HOME - CONTINUOUS16Elisha stands outside Dr. Allen's door looking like thewind's been knocked out of her. She runs her hand through herhair. . .and starts walking.With every click of her shoes, the WHISPERS grow louder,reverberating off the walls.WHISPERSHe's back. He's coming. Coming to killyou. . .back into the dark. He'saround the corner. You knew he'd comeback. . .A SHADOW around the corner. Her pace quickens. Eyes widen.Foster girls and adults seem to pop out of nowhere, lookingwarily at her (features slightly BENT, a hallucination). Herown face starts to change, expression deepening, becomingHARSH and ugly. Whispers building ontop of each other, becomea CASCADE. . .17INT. ELISHA'S CAR - CONTINUOUS. . .that MERGE into ELISHA, SCREAMING and CRYING angrily,one long, protracted "no," a BANSHEE WAIL of PAIN.17
20.18INT. NEMAN MARCUS - AFTERNOON18ON FRANKY, suited and looking dapper behind a register.ASSOCIATE(os)Frank - your sister's outside!FRANKYOh, shit.He turns to the ASSOCIATE next to him.FRANKY (CONT'D)I'll be back.19EXT. THE DOMAIN - PARKING LOT - AFTERNOONElisha and Franky, on the upper level of the parking garage.On the HOOD of his car.FRANKYI just can't believe we're finding outabout this now, y'know?(beat)Maybe we could've done something.She nods absent-mindedly. Her cigarette is burned down almostto the filter, unsmoked.FRANKY (CONT'D)It's - it's gonna be alright, dude.Hey.(off look)Hey. Listen. It's gonna be alright.We're never gonna see him. Ever. Thelikelihood of that is soinfinitesimally small that. . .and ifwe do, there's the restraining order.Get me?FRANKY (CONT'D)(beat)That goes both ways.(beat; off cigarette)You wanna ash that.She's shivering. He puts her arm around her.ELISHA(to herself, a whisper)Franky.FRANKYWhat?Quiet for a moment.19
21.ELISHA(incoherent)Something's coming for us. . .I feelit. It's him. I dreamed it. And nowhe's out. That's not a coincidence.FRANKYElisha, come on ELISHAIT'S NOT!(beat)I'm sorry. Look - Franky, listen tome. I've been having the dream again. .the one I used to have. And I can'tget away. I never get away. I neverget away. I never Elisha's staring straight ahead so she doesn't see, but thelook on Franky's face is one of mingled concern, exasperationand complete frustration. He's heard all this before, morethan once. He knows what comes next.ELISHA (CONT'D)And then this, and now he's out, but Idreamed it first and (beat; looks him in the face)Something terrible is going to happen.FRANKY(initially perturbed, thenconsoling)Trust your brother, okay? I'm notgonna let anything happen to us. If hetries anything, he'll be back in jaillike that.(snaps fingers)I promise you.FRANKY (CONT'D)(beat)I gotta get back in. I'll call youwhen I get off. You go home, yourelax, you watch a movie, smoke somegood, and that's it.(beat)That's it, understand? If I come overand have to watch you all night, I'mgonna be pissed. You gotta maintain.We'll figure this out.CUT TOThe same shot as before, with Dr.Allen. Looking her, and us, right inthe face. He's holding her gingerly bythe shoulders.FRANKY
22.Are you gonna be. . .okay tonight?A BEAT too long.20INT. ELISHA'S CAR - MOVING - NIGHT20Elisha drives, eyes still WIDE and NERVOUS. Pop music turnedup LOUD. Her hands grip the wheel TIGHT, but still shaking.(at the side of the road we see a TALL MOHAWKED WOMAN dressedin black, staring at us.)She stops, coming to a RED LIGHT, and down at her wrists.Outside the window, there's a BUS STOP. People waiting,milling around.As their BUS pulls up, Elisha looks at them.One of them, clad in ripped jeans and a denim jacket, looksback. He has a rough-hewn, scarred-up face. His eye catcheshers for a second.This is BILLY MARQS. Everything slows down and goes deadsilent. The music is gone. There's only the sound of Elisha'scaught breath shuddering slowly out of her mouth.She squints, bends her neck to get a closer look. As sheleans into the light an IMAGE flits over his face for a splitsecond - a SKULL.Around Elisha, the background seems to recede, lightsbecoming a blur of color. We're getting dangerously close toher. Billy doesn't break his stare as he gets onto the bus,even cocks his head unnaturally as if to ask "is that who Ithink it is?" WHISPERS(indistinct all throughout, thenright up front)Run.She HITS THE GAS and shoots through the red light. A few carsSWERVE to avoid collision 21EXT. BRAKER LANE - CONTINUOUS21She drives, booming down the road, swerving lanes. Throughthe windshield, she's having a full-ass breakdown, grippingthe steering wheel, beating it. . .22INT. ELISHA'S CAR (MOVING) - CONTINUOUSELISHANo. Nononono. . .WHISPERSHe's come for you. He's been waitingfor you. All this time. He's foundyou. . .you can't escape. . .22
23.She veers dangerously close to the curb. The car scrapesloudly as she mounts it on the passenger side. Elisha doesn'tnotice, and veers off back onto the road, suddenly.In the light from the street-lamps, a strange mirage passesover her face. A SKULL. A CHILD'S FACE.Through the flashes of light a glimpse in the rearview.BILLY'S FACE. Just a moment and it's gone.The whispers are getting louder. Building and building, andbehind them all, the SHRILL, blood-curdling scream. . .louderthan ever.23EXT. BRAKER LANE - CONTINUOUS23The car zooms down an empty street.24INT. ELISHA'S CAR (MOVING) - CONTINUOUS24She mumbles to herself incoherently.ELISHAAlmost home. Almost there, almostthere. . .almost there. . .home. .RADIO(podcast voice). . .and in Austin Texas, ElishaJohnson, 26, was found dead in herapartment because she COULDN'T SHOOTWHEN SHE SHOULD'VE And then, in a flash! - through the shadows a pair of HANDSreach out from the backseat, wrap around her neck, her mouth. .and impossibly, another pair of HANDS. . .She tries to steer with one hand through the fingers over herface, tries to breathe 25EXT. APARTMENT COMPLEX - PARKING LOT - NIGHTHeadlights breach the lines of the gate. It opens, but notfast enough - Elisha's car clips it coming through, knockingit off its hinges.She careens through the open parking lot, coming to ahaphaza
came in. Doesn't. . .you know, doesn't give a shit whatr I'm doing. She just comes in and starts asking me about, you know, what am I doing here? Why am I still here? DR. ALLEN You try to ignore her? ELISHA I did, but she - you can't ignore mom. I can't even get a word in edgewise with her, it's just (sigh) So, I'm trying to talk to her and .
